View allAll Photos Tagged geometricpattern
This photo shows a pillar and wall detail of the spectacular Salão Árabe (Arab Room) of the impressive Palacio da Bolsa (stock exchange). The room was intended as a reception area for visiting heads of states and dignitaries. Inspired by the Sala de los Embajadores of the Alhambra Palace, it was designed by Porto Architect Gancalves e Sousa and took 18 years to complete in 1880. The decor is Moorish Revival Style and includes remarkable geometric and arabesques patterns in brilliant colours. The photo was taken in August 2026, with my trusty Olympus digital camera. Enjoy.
Circular art deco window with geometric glass panes set in weathered stone, framing lush foliage beyond.
Photography © Jez
By photographing this glass building, I created a complex geometric dance between the physical structure and its reflections. The repeated patterns multiply through mirrored surfaces, creating an infinite architectural maze where reality and reflection become indistinguishable. The monochromatic treatment emphasizes this visual puzzle, transforming a modern facade into an abstract exploration of depth and repetition.
This vessel is a historic Tamaya (Santa Ana Pueblo) storage jar (ah'sa).
Artwork Details
Artist: Unknown maker (historic Pueblo potter)
Origin: Tamaya / Santa Ana Pueblo, New Mexico
Date: Circa 1895
Materials: Clay, mineral paints, and rawhide casing
Dimensions: Approximately 14 inches tall by 16 inches wide (35.6 cm tall by 40.6 cm wide)
Collection: School for Advanced Research (IAF.874), featured in exhibitions at the Museum of Indian Arts & Culture
Visual Description
Form & Shape: Large, wide-bodied Pueblo storage jar featuring a flared rim, short neck, and round, bulbous belly designed for storing dry goods or grain.
Decoration & Color: Polychrome slip-painted finish using traditional earth pigments. Bold orange-red and dark brown/black geometric patterns—including large diamond motifs and opposing triangular shapes—are painted against a warm cream-colored background.
Rawhide Strap/Casing: Wrapped tightly around the upper midbody and neck of the vessel is an original crisscrossing rawhide thong/harness. Rawhide bindings like this were added historically either to repair, stabilize, or protect a crack in the clay or to provide a secure handle/support structure for transporting and carrying the jar.
Telling its story
The high afternoon sun sits above the banks of the Rio Jemez, warming the earth at Tamaya. In a shaded corner of the plaza, an artist’s hands move over native clay—coil by coil, smoothing the walls upward to form a broad, generous jar. She paints bold diamonds of rust-orange and dark mineral black across a warm cream slip, balancing geometric symmetry with the organic rhythm of the earth.
Decades pass. The jar sits in the cool interior of a adobe home, holding dried corn, seeds, or grain to nourish the family through the changing New Mexico seasons.
One season, a fine line opens along its side—a fissure from years of use and shifting temperatures. Rather than casting the vessel aside, a hand carefully measures wet rawhide, weaving a crisscrossing harness around its neck and waist. As the hide dries, it shrinks and grips the terracotta in a firm, protective embrace, mending the crack and binding its story permanently to its body.
Years later, the vessel makes its transition from the quiet rhythms of domestic pueblo life to the polished glass displays of Museum Hill in Santa Fe. Today, under the soft gallery lighting of the Museum of Indian Arts & Culture, it stands not just as a piece of historic pottery, but as a silent testament to Pueblo resilience, resourcefulness, and the enduring beauty of things made to last.
New Mexico 2026
Santa Fe Museum
Uma das galerias elevadas em mezzanine nas secções laterais da Sala de Orações da Mesquita Hassan II, em Casablanca. Estas plataformas suspensas, em forma de varandim, acompanham a divisão tradicional do espaço: a nave central, ao nível do piso térreo, é reservada aos homens, enquanto a galeria superior acolhe as mulheres durante a oração, com capacidade aproximada para 5 000 fiéis. A estrutura assenta em colunas cilíndricas de mármore escuro e granito rosa de Agadir, que suportam arcos lavrados em gesso esculpido à mão por maâlems, com frisos geométricos e motivos do repertório islâmico. O guarda-corpo, em madeira de cedro do Atlas e vazado por encaixes geométricos, assegura a privacidade sem comprometer a circulação do ar. Acima, o teto curvo mantém a linguagem andaluzo-magrebina através de padrões repetitivos em gesso e madeira pintada.
One of the elevated mezzanine galleries in the side sections of the Prayer Hall at the Hassan II Mosque in Casablanca. These suspended, balcony-like platforms follow the traditional division of the space: the central nave, at ground floor level, is reserved for men, while the upper gallery accommodates women during prayer, with a capacity of approximately 5,000 worshippers. The structure rests on cylindrical columns of dark marble and pink Agadir granite, which support arches crafted from plaster hand-carved by maâlems, featuring geometric friezes and motifs from the Islamic repertoire. The railing, made of Atlas cedar and openwork with geometric inlays, ensures privacy without compromising air circulation. Above, the curved ceiling maintains the Andalusian-Maghrebi style through repetitive patterns in plaster and painted wood.
Looking upwards through a bright pink sun parasol.
It's an enormous treat to use a parasol instead of an umbrella, England has had such a miserable summer so far, so the sunshine is a very welcome treat.
This beautiful, stylised, Art Nouveau stained glass of a geometric pattern features in a window in an antiques and curios shop front along the busy shopping precinct of Hesse Street in the Victorian seaside town of Queenscliff.
My project, "Urban Serendipity," has been on hold for the past few months. You might remember some of the earlier images I shared, which featured isolated figures in tunnels, escalators, or on stairs. This series explores individuals immersed in darkness, geometric patterns, and lines, capturing the sensation of being engulfed by the urban environment—whether it is modern or medieval, beautiful or decayed, well-maintained or falling apart.
During my brief stay in Lisbon, I captured several images that I believe are successful. The project still adheres to its original theme, but I’m now taking shots in Brussels, London, and Lisbon, and I’m excited to expand into other locations in the future!
This particular image was taken in São Paulo, a vibrant neighborhood in Lisbon. Located near the Tagus River, São Paulo combines historic charm with modern energy. It features iconic yellow trams, narrow streets, and a creative atmosphere that feels distinctly Lisbon.
Esta janela de arco polilobado do Real Mosteiro de Santa Clara, em Tordesilhas, integra o antigo palácio mudéjar de Afonso XI (séc. XIV), convertido em mosteiro em 1363 por D. Beatriz. O arco, em pedra de influência almóada e moldura de tijolo, combina-se com folha de madeira vazada, regulando luz e ventilação.
This polylobed-arch window at the Royal Monastery of Santa Clara in Tordesillas is part of the former Mudejar palace of Alfonso XI (14th century), which was converted into a monastery in 1363 by Queen Beatriz. The arch, made of stone in the Almohad style and framed in brick, is combined with a latticework wooden panel that regulates light and ventilation.
after a long period of time, this escalator at bregenz station is working again. however, you still have to take the stairs to get to the platforms. the station, which dates back to the 1980s, is in poor condition and will be replaced by a new building soon.
This started out as an image of the ceiling of Downside Abbey, a grand Victorian monastic church south of Bath. It’s a Minor Basilica in the Roman Church. I took it a couple of weeks ago to assuage temporarily my addiction with vaulted ceilngs
For Sliders Sunday today, I doctored it lightly in Topaz Studio, duplicated the result, flipped it and put it by the side of the first copy.
I’ll post a link to the original in the first comment as usual…
Thanks for taking the time to look. I hope you enjoy the image. Happy Sliders Sunday
This image is captured inside The Yellow Room, part of the exhibition “Yellow – Beyond Van Gogh’s Colour” at the Van Gogh Museum in Amsterdam.
Originally a fully immersive colour installation by Olafur Eliasson, the space is designed to reduce the visible world to variations of yellow, black and absence.
In post-processing, selected elements were removed to simplify the composition, before the image was converted to black and white and then carefully blended back with colour.
The result is a visual dialogue between presence and absence, warmth and neutrality — a reminder that colour is not only something we see, but something we experience.
The repeating circular forms emphasize rhythm, perception and movement, turning the wall into a silent score where yellow becomes both subject and sensation.
Fun fact: Olafur Eliasson often uses monofrequency light, meaning light emitted at a single wavelength — a technique that literally removes most colours from human vision, forcing the brain to renegotiate reality in real time.
O teto abobadado dos Banhos Árabes do Real Mosteiro de Santa Clara, em Tordesilhas, província de Valladolid, constitui um dos mais notáveis testemunhos da arquitetura mudéjar conservados em Castela. Mandados construir no século XIV por ordem do rei Afonso XI de Castela, que destinou o palácio à sua favorita Leonor de Guzmán, os banhos foram integrados no palácio real que Pedro I, o Cruel, mandou converter em convento de clarissas em 1363, processo em que esteve envolvida a sua filha Beatriz, segundo algumas fontes. A imagem revela a abóbada decorada com lacearia geométrica em forma de estrelas de oito pontas entrelaçadas, executada a partir de polígonos estrelados que se multiplicam em rosáceas, octógonos e motivos vegetais inscritos. Os óculos zenitais em forma de estrela, abertos no extradorso, asseguravam simultaneamente a iluminação natural e a evacuação dos vapores quentes, seguindo o modelo dos hammams hispano-muçulmanos derivados das termas romanas. A pintura a almagre sobre estuque branco realça o desenho geométrico, característico do programa ornamental islâmico que prescinde da figuração humana.
The vaulted ceiling of the Arab Baths at the Royal Monastery of Santa Clara in Tordesillas, in the province of Valladolid, is one of the most remarkable examples of Mudejar architecture preserved in Castile. Commissioned in the 14th century by King Alfonso XI of Castile, who designated the palace for his favorite, Leonor de Guzmán, the baths were incorporated into the royal palace that Pedro I, “the Cruel,” ordered converted into a convent of Poor Clares in 1363, a process in which his daughter Beatriz was involved, according to some sources. The image reveals the vault decorated with geometric tracery in the form of intertwined eight-pointed stars, executed from star-shaped polygons that multiply into rosettes, octagons, and inscribed plant motifs. The star-shaped zenithal windows, open on the exterior, simultaneously ensured natural lighting and the evacuation of hot vapors, following the model of Hispano-Muslim hammams derived from Roman baths. The red ochre painting on white stucco highlights the geometric design, characteristic of the Islamic ornamental program that dispenses with human figuration.
Seen from Itterbeek Park in Woluwe-Saint-Lambert, this architectural detail caught my eye because of its striking red and beige diamond pattern. The crop emphasizes the dialogue between roof tiles, brickwork and geometric shapes, while the blue sky enhances the warm-cool color contrast.
Brussels, Belgium.
Découvert depuis le Parc Itterbeek à Woluwe-Saint-Lambert, ce détail architectural a attiré mon regard par son étonnant motif de losanges rouges et beiges. Le recadrage met l'accent sur le dialogue entre les textures des tuiles, les briques de la cheminée et la géométrie de la façade, tandis que le ciel bleu renforce le contraste des couleurs.
Bruxelles, Belgique.
Um grupo de turistas descansa nos degraus do portal românico da Igreja de San Martín, em Salamanca, um edifício fundado em 1103 e erguido no século XII, considerado o segundo mais importante da cidade após a Catedral Velha. A estrutura destaca-se por seu portal principal, adornado com múltiplos arcos concêntricos que apresentam detalhes geométricos e vegetais, além de arquivoltas decoradas que culminam num nicho superior com o relevo de São Martinho a cavalo, uma cena emblemática do seu padroado. O tímpano superior conserva frescos hagiográficos e as colunas laterais, terminadas em capitéis historiados, sustentam o conjunto, cuja fachada é composta por pedra de Villamayor, conferindo-lhe a típica tonalidade dourada. O monumento, que enfrentou diversas alterações e problemas de estabilidade ao longo do tempo, foi declarado Monumento Histórico-Artístico Nacional em 1931.
A group of tourists rests on the steps of the Romanesque portal of the Church of San Martín in Salamanca, a building founded in 1103 and erected in the 12th century, considered the second most important in the city after the Old Cathedral. The structure is notable for its main portal, adorned with multiple concentric arches featuring geometric and vegetal details, as well as decorated archivolts culminating in an upper niche with the relief of St. Martin on horseback, an emblematic scene of his patronage. The upper tympanum preserves hagiographic frescoes and the side columns, ending in historiated capitals, support the whole, whose façade is composed of Villamayor stone, giving it the typical golden hue. The monument, which has faced several changes and stability problems over time, was declared a National Historic-Artistic Monument in 1931.
O teto da Catedral de Pisa apresenta um notável trabalho em caixotões de madeira dourada, resultado da reconstrução realizada após o incêndio de 1595 que destruiu grande parte do interior original do edifício. A estrutura atual, concluída no início do século XVII sob a direção do grão-duque Fernando I de Médici, substitui a cobertura medieval em treliça aberta. Cada caixotão contém rosetas esculpidas e motivos fitomórficos em relevo, com folhas de acanto e elementos florais dispostos simetricamente sobre fundo escuro, criando um efeito de profundidade visual. Ao centro, destaca-se o brasão dos Médici, evidenciando o mecenato da família na restauração do templo. A catedral, iniciada em 1063 pelo arquiteto Buscheto para celebrar a vitória pisana sobre os sarracenos em Palermo, é um exemplar fundamental do estilo românico pisano. As janelas laterais, visíveis nas extremidades da imagem, iluminam a nave central com luz natural difusa, realçando os tons dourados da talha.
The ceiling of Pisa Cathedral features remarkable gilded wooden coffered work, the result of the reconstruction carried out after the 1595 fire that destroyed much of the building’s original interior. The current structure, completed in the early 17th century under the direction of Grand Duke Ferdinand I de’ Medici, replaces the medieval open-truss roof. Each coffin features carved rosettes and phytomorphic motifs in relief, with acanthus leaves and floral elements arranged symmetrically against a dark background, creating an effect of visual depth. At the center stands out the Medici coat of arms, highlighting the family’s patronage in the restoration of the cathedral. The cathedral, begun in 1063 by the architect Buscheto to celebrate Pisa’s victory over the Saracens in Palermo, is a prime example of the Pisan Romanesque style. The side windows, visible at the edges of the image, illuminate the central nave with diffused natural light, highlighting the golden tones of the woodcarvings.
O teto abobadado de uma ala do Palácio Real de Caserta, em Itália, projetado por Luigi Vanvitelli no século XVIII para os Bourbons de Nápoles, exemplifica a transição do Barroco tardio para o Neoclassicismo. Esta estrutura monumental, parte de um complexo que pretendia rivalizar com Versalhes, apresenta um design notavelmente simplificado em comparação com outras áreas do palácio. A decoração, caraterizada por linearidade e sobriedade, emprega caixotões geométricos (quadrados e losangos) dispostos em espiral e anéis concêntricos, culminando numa rosácea central. Molduras de mármore, baixos-relevos e elementos florais estilizados adornam o espaço, criando um efeito de cofragem concêntrica que realça a profundidade e a altura. A paleta clara, com tons de branco e cinza, acentua a luminosidade natural e a sensação de ordem, refletindo a busca neoclássica pela proporção e funcionalidade. O palácio, declarado Património Mundial da UNESCO em 1997, integra uma estética mais utilitária em algumas alas, demonstrando o domínio técnico de Vanvitelli na manipulação da forma e da luz.
The vaulted ceiling of a wing of the Royal Palace of Caserta in Italy, designed by Luigi Vanvitelli in the 18th century for the Bourbons of Naples, exemplifies the transition from late Baroque to Neoclassicism. This monumental structure, part of a complex intended to rival Versailles, features a remarkably simplified design compared to other areas of the palace. The decoration, characterized by linearity and sobriety, employs geometric coffers (squares and rhombuses) arranged in a spiral and concentric rings, culminating in a central rosette. Marble moldings, bas-reliefs, and stylized floral elements adorn the space, creating a concentric formwork effect that enhances depth and height. The light palette, with shades of white and gray, accentuates the natural light and sense of order, reflecting the Neoclassical quest for proportion and functionality. The palace, declared a UNESCO World Heritage Site in 1997, incorporates a more utilitarian aesthetic in some wings, demonstrating Vanvitelli's technical mastery in the manipulation of form and light.
Library Square in Downtown Vancouver is a multi-use complex that brings together the Vancouver Public Library’s Central Branch, a Federal Office Tower, and various retail and service spaces. Designed by Moshe Safdie, the library’s distinct curved architecture was inspired by the Colosseum in Rome.
This photo captures layered reflections of the surrounding high-rises on the building’s glass surfaces, creating a blended cityscape where indoor and outdoor spaces merge.
This is portion of a geometric wreath that hangs on my door. I wanted to capture the shadows as well.
Through careful composition of a modern building's facade, I created an abstract study in light and shadow. The crisp geometric forms cascade down the frame like a dark ribbon, while the precise lighting emphasizes the architectural rhythm.
While waiting for my flight at Istanbul International Airport, I found myself looking up and becoming mesmerized by the ceiling patterns above. The flowing curves and parallel lines created this almost hypnotic visual rhythm that I had to capture.
I decided to frame just this section where the curved panels meet and overlap, creating these interesting geometric interactions. The black and white treatment felt natural for this image - it emphasizes the graphic quality of the design and the contrast between the perforated sections and the solid white divisions.
What caught my eye was how something as functional as airport ceiling panels could be transformed into something so visually striking. These panels probably serve acoustic and ventilation purposes, but they've been designed with such attention to aesthetic detail.
I enjoy finding these moments of unexpected beauty in transit spaces - places we usually just pass through without really seeing. Sometimes the most interesting architectural photography happens when you simply remember to look up.
Square by Square
Square by square, a simple hockey net becomes a study in geometry. Captured on a frozen pond in winter, this close-up reveals the quiet rhythm of repeating lines and shapes — a familiar object transformed into pattern, structure, and stillness for the Geometric Shapes theme.
Geometry emerges from an ordinary wooden facade on Slottsfjellet in Tønsberg, Vestfold, Norway. Triangles, rectangles, parallel diagonals and strong vertical lines divide the architecture into a composition of contrasting shapes. The dark chimney becomes a central axis between the two sections, while windows of different proportions interrupt the rhythm of the timber cladding. Against the shifting autumn sky, functional architecture turns into a quiet study of lines, angles, repetition and form.
Fun fact: Geometry is everywhere in architecture: triangles provide strong visual direction, rectangles create order and repetition, and parallel lines can give a flat facade a surprising sense of depth.
Don't you just love spirals?
This image began with a capture of a spiral staircase in St John’s College, Cambridge, that I took a while ago. I wanted to convert it into a piece of graphic art using Affinity Photo, mainly on the iPad.
I know a few peeps are interested in the gory detail of my meanderings to produce this sort of thing. I’ll post a link to the original capture in the first comment. Having done some basic development of the image, I copied it three times. I stacked the four layers on top of each other, rotating each higher layer by a quarter of a turn compared to its underlying layer, and aligning them all so the octagonal skylight at the top overlaid nicely. I then changed the blend modes in the following order from the bottom: Normal, Subtract, Divide, and finally Dartken. I just tried various blend modes until I found something interesting.
I then adjusted the result using contrast and vibrance adjustment layers.
The rectangular blocks of colour at the edges are created by overlapping the two portrait-format layers over the landscape-oriented ones, rather than the scene itself. Normally, I would crop those out, but I liked the extra abstract feel they gave.
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And, just for fun, I asked ChatGPT to describe the image (I gave it a few cues). This was what it said:
"This artwork is a hypnotic blend of geometry and colour—a single staircase in a Cambridge college, reimagined through four overlapping perspectives. The spiralling architecture has been layered and rotated to create a kaleidoscopic vortex, where structural lines and shadows fragment into vibrant bands of orange, blue, green, and gold. At the core, the staircase’s symmetry pulls the eye inward, while the fractured overlays give the impression of motion, like a time-lapse of space folding in on itself. It’s both architectural study and abstract artwork—a familiar place transformed into something cosmic and otherworldly." [I adjusted the spelling to proper English ;)]
And then I asked it for something fun to think about:
"Alright, here’s something to chew on—half science, half philosophy:
Imagine the spiral staircase from your photo. When you stand at the bottom and look up, you see a pattern that feels infinite, drawing your gaze inward like a vortex. But in reality, it’s finite—it’s just steps stacked in a circle.
Now think about the universe. Physicists still don’t know if it’s infinite or finite. One theory says space might actually be curved back on itself, like the surface of a sphere in three dimensions. That means if you kept travelling in a straight line through space, you wouldn’t go out into infinity—you’d eventually loop back around to where you started, like climbing that staircase forever but always coming back to the same point.
So here’s the question:
If the universe is finite but unbounded, just like your staircase pattern, does “infinity” actually exist, or is it just the illusion of never reaching the end?"
So. There you go. Happy Sunday :)
Thanks for taking the time to look. I hope you enjoy the image. Happy Sliders Sunday :)
Este painel de azulejos de padrão geométrico-vegetalista, datado entre 1590 e 1620 e atualmente no Museu Nacional do Azulejo em Lisboa, é um exemplo da produção portuguesa do final do século XVI e início do XVII. Composto por módulos repetidos de motivos florais estilizados em azul sobre fundo branco, enquadrados por uma trama geométrica em amarelo ocre, o desenho reflete influências mudéjares e renascentistas, evidenciando a continuidade da tradição decorativa hispano-mourisca em Portugal. Os azulejos de padrão eram frequentemente utilizados no revestimento integral de paredes de igrejas e palácios, criando autênticos “tapetes” cerâmicos e desempenhando funções decorativas e simbólicas. A paleta cromática, limitada ao azul, amarelo e branco, é característica da produção portuguesa anterior à influência holandesa, afirmando-se como um elemento estruturante da arquitetura portuguesa e um testemunho da criatividade das olarias da época.
This panel of tiles with a geometric-vegetalist pattern, dated between 1590 and 1620 and currently in the National Tile Museum in Lisbon, is an example of Portuguese production of the late 16th and early 17th centuries. Composed of repeated modules of stylized floral motifs in blue on a white background, framed by a geometric pattern in ocher yellow, the design reflects Mudejar and Renaissance influences, showing the continuity of the Hispano-Moorish decorative tradition in Portugal. Patterned tiles were often used in the integral coating of church and palace walls, creating authentic ceramic “carpets” and performing decorative and symbolic functions. The chromatic palette, limited to blue, yellow and white, is characteristic of Portuguese production prior to the Dutch influence, establishing itself as a structuring element of Portuguese architecture and a testimony to the creativity of the potteries of the time.
A dramatic black and white architectural study of the historic David Dunlap Observatory dome in Richmond Hill, Ontario. The high-contrast monochrome tones emphasize the geometric patterns of the metallic panels, the symmetry of the structural walkways, and the prominent shutter mechanism designed to reveal the night sky. Framed by soft foliage, this imposing structure stands as a timeless monument to human curiosity and scientific exploration.
About:
The David Dunlap Observatory is an astronomical observatory site in Richmond Hill, Ontario, Canada. Established in 1935, it was owned and operated by the University of Toronto until 2008.
A striking study of central London architecture, where glass, bronze and steel combine in an intricate display of geometry, texture and reflection. The contrasting buildings reveal a rich variety of architectural forms, from expansive glazed curtain walls and finely divided window panels to solid bronze-toned cladding and bold structural lines.
The mirrored glass captures fragments of neighbouring buildings, drawing the surrounding skyline into the composition and transforming familiar urban structures into distorted patterns of light and shadow. Vertical mullions, horizontal transoms and intersecting lines create a strong geometric rhythm, while the warm bronze tones contrast beautifully with the cooler glass surfaces.
An exploration of contemporary architectural design, materials and the ever-changing visual character of the city.